I noticed recently that this tee is available from those purveyors of fine style The Selvedge Yard.I'm really not sure how long it has been available there but I certainly hadn't seen it until within this last year or so, but here yours truly is modelling (ahem) a true original bought from the tee's designer Rohan Pugh from the public bar at The George in St Kilda at least ten years ago. I remember that I'd picked up a copy of Inpress and as usual I'd turned to Fred Negro'sPUB strip first and there was an illustration of this design and instructions that they would be on sale at The George . From memory there were certainly no more than 50 made in this first run. I snagged two, one being a hexmass present for my ex-wife (who is well into her K.R.)I do remember pretty soonish absolutely fugn terrible rip offs of the design (eg) started appearing for sale in the back pages of Mojo and Uncut etc. I do hope that Rohan gets a percentage from ALL the versions.

So...20th Century Fox was offering this Dazzler 12 in. album at SDCC in connection w X-Men Apocalypse digital release. I actually found out about it at the con when people started coming up to me in increasing frequency for signatures. This practice is hardly unusual standard operating procedure for corporations. Even so, it still rankles. I'm one guy. I've been doing this comic-book thing for years. I'm aware most everything is Work-Made-for-Hire. Still, I received no prior notification (a common courtesy), no thank you ( ditto), no written credit in any form whatsoever either on the piece or in connection with the premium, absolutely no compensation and no comp copies of the album. It's like two losing trifectas wrapped in an altogether indifferent fuck you.Booth-mates Tiziano De Santis, Lauren Jett, and others nearby had to nearly physically restrain met from going to the Fox booth and making a scene, where I would have taken it out on minimum wage booth-sitters who had zero idea what this lunatic was pissed about.Am I over -reacting here?Do I have the right-at least on behalf of fellow creators -to, at the very least expect decent treatment and some kind of minuscule, even boilerplate, acknowledgment? Asking that they part with a few coins, a few shekels, is insanely naive and hilarious I know(would be a nice gesture, though, and go a long way in soothing my mutant Polish artist rage), but seriously, is a thank you and a note of credit pushing it? I don't think so, but maybe I'm Stockholmed as to what passes as standard treatment of freelancers

Pink Floyd have announced a new box set, The Early Years 1965-1972, which will comprise 27 discs – both CDs and DVD/Blu-ray discs. It will contain seven hours of previously unreleased live audio, and more than 15 hours of video. The Early Years 1965-1972 is released on 11 NovemberHERE
Vegetable Man

Fourteen years on from his tragic death King Tubby remains one of reggae’s most enigmatic personalities. Despite the worldwide fame his life and times remain shrouded in half-truths and mystery - a result of his own retiring personality and the reality that the tough world in which he operated was often hard for outsiders to penetrate. Tubby seemed phenomenally successful in staying out of the spotlight. He certainly did not seek publicity for himself and there were only ever two published interviews that I am aware of - one was my own article that appeared in Blues & Soul during the summer of 1977 and the other was Carl Gayle’s far more essential earlier piece for Black Music in February 1976. This new attempt to tell some of Tubby’s story will inevitably be a compromise of the real truth as it has to rely on peoples memory of events that occurred a quarter of a century ago and beyond. A couple of years before his death Augustus Pablo made this sharp observation that explained how the musical experimentation of the ‘70s had been a spontaneous thing that was never meant to be analyzed three decades later, “It’s the way you look ‘pon it now! You see it like a pattern and a time. You can’t look ‘pon it so.” I first visited Tubby’s studio in April 1977 having traveled to Jamaica with my friends John ‘Dub Vendor’ MacGillivrey, Chris Lane and his girlfriend Theresa. Even in those times many taxi drivers were reluctant to venture into Kingston 11 - but fortunately I had help from UK sound system operator Ken ‘Fatman’ Gordon who had good connections in the Waterhouse (also referred to by locals as Firehouse, because the area was so hot!) district. Fatman arranged for his brother ‘Bigga’, a Kingston cab driver to take us to over by Tubbys. We drove to Waterhouse one humid, overcast weekday afternoon and I recall some apprehension as Bigga’s beat up Austin Cambridge turned off Waltham Park Road into Bay Farm road and headed west across Olympic Way before cutting south through what seemed like a warren of increasingly pot-holed back streets into Tower Hill and on to Dromilly Avenue. The area was a mixture of run down concrete bungalows and zinc fence yards - it was unsettling quiet compared to other parts of town and this just added to what was either a real or imagined atmosphere of tension. The studio came as something of a surpise. Number18 Dromilly Avenue was just another anonymous bungalow on this quiet crescent shaped road. Unlike the neighboring dwellings there were a couple of cars parked outside, including an immaculate white Triumph 2000 that I later found out to belong to resident engineer Lloyd ‘Prince Jammy’ James - it was somehow surreal to see such a beautifully preserved vehicle in this distinctly third world landscape. Aside from the sound of muffled bass lines pounding from within, the CCTV camera and an electronically operated security gate were the only other pieces of evidence that No.18 was anything out of the ordinary...

Monday, 25 July 2016

I don't think I could convey here how much I think this man is moronic.I will say though that - on Facebook - if you post two (I'll give you the benefit of the doubt the first time that you know not what you are doing) infowars links then you are gone. Don't give a shit who you are

The only one who seems to be taking the sexual assault allegations against Donald Trump seriously is Donald Trump…The media blackout would be odd enough on its own, but odder still was that eight minutes after sister site LawNewz.com posted Dan Abrams’ interview with Jill Harth, Donald Trump himself got on the phone with LawNewz editors to dispel the story. In the middle of the pandemonium that was the RNC, Trump found his way to a phone, spoke with LawNewz editors, and characterized Jill Harth as a crazy, lovesick liar who had already been discredited by none other than the National Enquirer. “If you look in the National Enquirer, there was a story in there that she was in love with me. The woman has real problems,” Trump told LawNewz.com in a phone call. “It’s ridiculous, I’ve never touched this woman.”